Friday, May 30, 2014

Saʿdi, ‘Araqi, Khusrau: Guftam Ke Roshan Az Qamar

Bahauddin Khan Qawwal (1934-2006), whose party render the qawwali below, traced his lineage back to the days of Amir Khusrau. To remind centuries-yet-to-be that he had loved his murshid, Khusrau banded together twelve youngsters, personally trained them, funded them, and performed with them. He appointed Mian Saamat as the leader of the Bachche (Youngsters) Qawwal. Bahauddin's family claims descent from the Bachche.

The first couplet is by Saʿdī. Abū-Muhammad Muslih al-Dīn bin Abdallāh Shīrāzī, aka Saʿdī Shirazi (Persian: ابومحمد مصلح الدین بن عبدالله شیرازی‎; 1210-1292) was the major classical Persian poet of the middle ages, recognized for the quality of his composition and for the depth of his thought.

Grant me a warm new life or grant me a hot death
I bow my head at Thy service and make Thee my king.

The second couplet is by ‘Araqi. Fakhr al-dīn Ibrahīm ‘Irāqī, or ‘Araqi (Persian: فخرالدین ابراهیم عراقی‎; 1213-1289), was a Persian Sufi master (a friend of Jalaluddin Rumi), poet and writer. Born in Hamedan, (i.e. 'Irani Iraq'), ‘Araqi spent many years in Multan in the Indian subcontinent, as well as in Konya in present day Turkey.

Why should our enemies be so fortunate to die by Thine hands?
The heads of comrades are standing alive, ready for dagger-wielder Thou.

The rest is by Amir Khusrau (1253-1305):

گفتم که روشن از قمر گفتا که رخسار منست

گفتم که شیرین از شکر گفتا که گفتار منست

Guftam ke roshan az qamar gufta ke rukhsar-e-man ast

Guftam ke shireen az shakar gufta ke guftar-e-man ast

I asked: 'What is brighter than the moon?' She said: 'It is my face.'

I asked: 'What is sweeter than sugar?' She said: 'It is my talk.'

گفتم کہ مرگِ ناگہاں، گفتا که درد هجر من

گفتم علاج زندگی ،گفتا که دیدار منست

Guftam ke marg-e-'ashiqan gufta ke dard-e-hijr-e-man

Guftam 'ilaaj-e-zindagi gufta ke deedar-e-man ast

I asked about the death of lovers; She said; 'The pain of being separated from me.'

I asked about the cure of life; She said: 'It is the sight of my face.'

گفتم طریق عاشقان گفتا وفاداری بود

گفتم مکن جور و جفا، گفتا کہ این کار منست

Guftam tareeq-e-'ashiqan gufta wafadari buwad

Guftam makun jaur o jafa gufta ke iin kar-e-man ast

I asked about the way of lovers; She said: 'Fidelity.'

I said: 'Then do not be cruel and wicked.' She said: 'That is my task.'

گفتم که حوری یا پری ، گفتا که من شاه ِ بتاں

گفتم که خسرو ناتوان گفتا پرستار منست

Guftam ke houri ya pari gufta ke man shah-e-butan

Guftam ke Khusrau na-tavaan gufta parastar-e-man ast

I said: 'Are you a houri or a fairy?' She said: 'Of idols I am King.'

I said: 'Khusrau is helpless.' She said: 'Worship me.'

In his Lectures on Aesthetics, Hegel wrote:

Pantheistic poetry has had, it must be said, a higher and freer development in the Islamic world, especially among the Persians ... The full flowering of Persian poetry comes at the height of its complete transformation in speech and national character, through Mohammedanism ... In later times, poetry of this order [Ferdowsi's epic poetry] had a sequel in love epics of extraordinary tenderness and sweetness; but there followed also a turn toward the didactic, where, with a rich experience of life, the far-traveled Saadi was master before it submerged itself in the depths of the pantheistic mysticism taught and recommended in the extraordinary tales and legendary narrations of the great Jalal-ed-Din Rumi.